A Quote by Dido Armstrong

I went to study some orchestration stuff because I got so inspired working with all the orchestras. — © Dido Armstrong
I went to study some orchestration stuff because I got so inspired working with all the orchestras.
You can study orchestration, you can study harmony and theory and everything else, but melodies come straight from God.
This is no condemnation of Chuck Berry, who I greatly admire. But Chuck Berry's music will not translate as well to orchestration because of its very three-chord rock 'n' roll nature. It is the music of the artists that are more pretentious, pompous or closer to the kind of big dramatic stylings that orchestras are good with.
The greatest composer does not sit down to work because he is inspired, but becomes inspired because he is working.
The great-at-anything do not set to work because they are inspired, but rather become inspired because they are working. They don't waste time waiting for inspiration.
The great composer does not set to work because he is inspired, but becomes inspired because he is working.
I wouldn't mind working in restaurants again because you build up a relationship with the customers. I'm really inspired by the mundane - it's often the most ordinary-looking people who have the best stories - and you can watch diners and study their idiosyncrasies without them being aware of it.
Sometimes I'm more inspired by stuff that tells a story and less inspired by stuff that's not a natural extension of what I'm already doing.
I'm always working my own thing. A few times a week - I try to not go too crazy - I'm working with some other artist. But I'm constantly working my own stuff, and my own stuff seems to come in little bursts.
You gotta follow the white guys. Truly. They've got this thing wired. Too often, we live within their games, so why would you not study what works? Take away the bad stuff - because there's a lot - and use the savvy interesting stuff and figure out how they can apply. It's a good one for the ladies.
I have some property. We have a few acres, so I like working on it, whether it's cutting stuff down, cleaning stuff up, building steps, or working with concrete, you know, brickwork.
Hollywood is crazy because if you're working, you're constantly working. There's all sorts of scheduling and stuff, and maybe you have a day off, but you don't have the whole day. You've got a photo shoot or whatever.
If I hold onto something it's because I want it not because I want to display it or show it to somebody else. I've got some cool stuff, I've got some cool things.
You're really spread out now, you've got stuff all over the WORLD! You've got stuff at home, stuff in storage, stuff in Honolulu, stuff in Maui, stuff in your pockets...supply lines are getting longer and harder to maintain.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
Working on 'Laguna' was great because just being in production and shooting stuff and having to go back and relive some things, and there were some lines here and there that the producers would want us to say, and just kind of, you're forced to recreate moments, and just working on the show was so much fun.
I went to my first show [of the Grateful Dead], got right up front and never left. The incredible excitement, the family, the spirit, the hope, the happiness, all the different things I love and live for in life are there. The joy, the optimism, the teamwork, the experimentation, the exploration, the curiosity. No band has inspired more artwork, no band has inspired more books. No band has ever inspired a more loyal following and I'm involved in all of that stuff.
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